113 posts categorized "R"

09/04/2011

The Russians are coming!

Routine in some aspects, the gritty war-drama "5 Days of War" stands out as an example of the positive power of real-simulated action over computer-generated effects.

If you're anything like me, you'll want to keep your head down as bullets fly in this dramatic recreation of the brief, but bloody David vs. Goliath five-day conflict between Russia and the Georgian Republic in 2008.

Director Renny Harlin, once known for mainstream thrillers like "Die Hard 2:  Die Harder" and "Cliffhanger," hits the cinematic war zone with the full cooperation of the Georgia military and citizens.

That means when you see hundreds, perhaps thousands of attack-ravaged refugees fleeing their homes ahead of the Russian tanks, you are really seeing live humans instead of five or six folks multiplied by computer into the masses.

British actor Rupert Friend ("The Young Victoria") is out front as Thomas Anders, an American TV correspondent.  Along with fellow journalists Sebastian Ganz (British actor Richard Coyle of "Coupling"), The Dutchman (Val Kilmer) and Zoe (German actress Antje Traue), they treat war as nightly drinking binges with dangerous duty during daylight hours.

"5 Days of War" maintains its "Black Hawk Down" desperate feel throughout, as Anders repeatedly steps into active combat zones to get the story and, in this case, the girl; a schoolteacher named Tatia (Emmanuelle Chriqui of "You Don't Mess with the Zohan" and "Entourage" on HBO) cut off from her family during a bombing raid.

Harlin, while quite adept at using powerful images and sound, is not quite equal to Ridley Scott ("Black Hawk Down" director) when it comes to keeping it real and believable.

As powerful as the war scenes are, drama becomes melodrama at times.

Still, for those who enjoy war dramas that push them to the edge of their seats with heavy artillery and tank fire, "5 Days of War" keeps the action blasting throughout.

An added plus is Andy Garcia as Georgia President Mikheil Saakashvili and Harlin's determination to make a modern-day war picture the old-fashioned way with real actors and effects.

08/30/2011

Life is like a box of just being there

I never knew Forrest Gump had a country cousin until I saw "Our Idiot Brother."

Actually, Paul Rudd's Ned isn't really a simpleton or savant, as Tom Hank's Forrest was.  Ned is just a seriously laid-back guy who chooses to go through life telling the unfiltered truth, trusting strangers and constantly getting chastised -- or jailed -- for his simple approach to life.

In other words, it looks like Ned, who lands in the slammer in this raunchy comedy's opening sequence for being talked into selling pot to a uniformed policeman, has little or no chance in the cold, hard, "me-first" real world.

Life isn't like a box of chocolates for Ned, it's a constant swift kick below the belt.

But Ned, superbly downplayed by Paul Rudd behind a bushel of hair and beard, only wants to reunite with his dog, Willie Nelson.  Yes, a dog named Willie Nelson.  

Directed by Jesse Peretz, who guided Rudd through "The Ex" and "The Chateau," "Our Idiot Brother" is the thinking person's raunchy, low-brow comic romp.  Ned sells dope and acts like one at times.  But he also wanders into domestic dilemmas involving his three sisters (played with spunk by Elizabeth Banks, Zooey Deschanel and Emily Mortimer).

Like the late Peter Seller's Chance Gardner in the now-vintage comic-drama gem "Being There" (1979), Ned sometimes soothes troubled waters by simply showing up and shutting up.

Rudd, who has the uncanny ability to look like a straight man even when his character is way off into Goofville, turns in a subtle, understated performance that's a refreshing diversion from what we usually see in today's over-the-top raunchy comedies.

"Our Idiot Brother" turns out to be a well-acted exercise in cinematic ensemble folly that makes for an enjoyable evening of frenzied vs. cool reacting movie-going.

Screenwriters Evgenia Peretz, a "Vanity Fair" contributing editor who's the director's sister, and her husband David Schisgall, write themselves into a corner bubbling over with over silliness a couple of times, however.

Why else would they dub the Golden Retriever Ned is constantly trying to retrieve "Willie Nelson"?

You'll just have to wait until the final scene to answer that one.

08/19/2011

Fangs for the memories

The 3-Ds in "Fright Night" stand for death, dumb and dufuses.

Yet the remake of the 1985 comic-horror-thriller about the vampire next door slithers coldly and with a sick sense of purpose; like a snake on the prowl after dark.

Actually, Jerry (Colin Farrell), the handsome mysterious stranger who has just moved into a house in the Las Vegas 'burbs, is more like a shark.

Charley, the kid next door, finally snaps that Jerry (Yes, Jerry the vampire) must be a blood-sucker when his classmates, including former best bud Ed (talented Christopher Mintz-Plasse), fail to show up for school.

Normally, I am not in favor of remakes.  They are, however, here to stay.

At least the "Fright Night" re-do is in very good hands, even if it's a little cheesy-goofy.  Director Craig Gillespie ("Mr. Woodcock"), who guided Ryan Gosling through an extremely difficult performance in the outstanding dark comic-drama "Lars and the Real Girl," makes good use of his actors, his script and the gimmicky 3-D effects.

Gillespie wisely waits, waits, waits until just the right couple of moments to spring -- make that fling -- images into the audience.

Anton Yelchin ("Star Trek," Mel Gibson's son in "The Beaver") finds enough nuance in Charley to keep his startled character real enough.   

Farrell, on screen recently in "Horrible Bosses," was excellent in the hit-man comic-drama "In Bruges" (2008), a superb thriller almost no one saw.  Here he's a laid back vampire.  Laid back, that is, until night falls, hunger takes over and the fangs come out.

The real star here, though, is Scot actor David Tennant (the BBC series "Dr. Who").  Tennant, a relative fresh face in this country, acts circles around his castmates as Peter Vincent, a blow-hard "vampire killer" on stage on the Vegas strip who is drawn into the real fright fight.

The late Roddy McDowall, who played a TV "Fright Night" host in the original, would be proud, and perhaps a little jealous of this fast-paced remake with real bite.

07/22/2011

Booty calls with entanglement pitfalls

Kudos to "Friends With Benefits" director Will Gluck for daring to sprinkle some real-life drama into a silly little romantic-comedy that flashes some skin and lesser parts romance and comedy.

Justin Timberlake and Mila Kunis, two rising stars of the Yeah, Us Generation, do all they can with a premise doomed from the beginning:  Sex without emotion or entanglements.

Let's face it, folks.  The booty call, no commitment relationship already had its chance on the big screen.
Earlier this year Oscar winner Natalie Portman ("Black Swan") and Ashton Kutcher (Charlie Sheen's soon-to-be replacement on TV's "Two and a Half Men") gave it a goofy go in "No Strings Attached."

The idea failed, although the movie had some merit as a romantic-comedy.

Even good actors like Timberlake ("The Social Network") and Kunis ("Black Swan") can't make "Friends with Benefits" hook an audience as entertainment, however.  The problem is that director Gluck's first effort since last year's semi-entertaining "Easy A" attempts to stuff some serious life lessons, including but not limited to the sex without commitment thingy, into a format that's traditional romantic-comedy.

Dylan (Timberlake) plays a hotshot Web site graphic designer in L.A. who's recruited by Jamie (Kunis), a get-it-done corporate headhunter.  She lures him to New York for an interview at GQ magazine.

Both are on the rebound from recent breakups, which are inter cut nicely by Gluck to open the film.

Like Portman and Kutcher in "No Strings Attached," Dylan and Jamie take the plunge into a grand experiment doomed to failure:  vigorous sex with none of the cuddling, or "Call me" or whining about a sex partner who might encounter someone else away from the not-so-sacred pact.

Jamie, claiming to be a "good girl," makes Dylan swear on a Bible that neither partner will violate the special bond.  The Bible, however, is a Bible app on an ipad.

Welcome to The Good Book in the New Digital Age, movie-goers.

Jamie's Mom (Patricia Clarkson) wanders off in the direction of every man she sniffs.  Dylan, on the other hand, is sort of hiding the fact that his dad (superbly played by Oscar nominee Richard Jenkins of "The Visitor") has some serious, heartbreaking health issues.

I like the fact that "Friends With Benefits" attempts to fry some real life stumbling blocks in the same pan as the over-easy romance and peek-a-boo frolics under the sheets.  For those who seek out R-rated movies for such things, there's more raunchy sex talk than exposed skin, except for a showcase of Timberlake's bare Southern extremities.

"Friends With Benefits" is a tough call for a critic.  If modern, graphic pillow talk is all you require in a romantic-comedy, it's a semi-rewarding hour and a half or so in a movie house.

Otherwise, some very good veteran actors (Jenkins, Clarkson) and young rising stars (Timberlake, Kunis) might just appear to be hanging around on the screen for a very long time.

06/24/2011

'Bad Teacher' sent to comic detention

A couple of weeks ago, this looked like a blossoming cinematic summer of lowbrow, raunchy girl power.

Well, "Bridesmaids" did its part with bottom-feeder bodily malfunction laughs the like of which haven't been seen since Jeff Daniels' outrageous guest bathroom experience in "Dumb & Dumber" way back in the prehistoric comic ages of 1994.

Unfortunately, "Bad Teacher" can't carry the Girls Can Be Just As Comically Nasty As Boys torch forward.

Cameron Diaz's jilted fiancée/teacher who, according to "Bad Teacher's" catchphrase, doesn't give an F might just find that some movie critics who rate flicks from A to F do.

Showing flickers of creativity in early scenes, when awful high school teacher Elizabeth Halsey (Diaz) shows her students movies about teachers teaching instead of bothering to do it herself, "Bad Teacher" quickly becomes a mirrored image of the main character's goal in life:  a boob job.

Like "Bridesmaids" and "The Hangover Part II," "Bad Teacher" provides a steady barrage of below-the-belt humor, drugs and sex.  The only thing missing here most of the time is laugh-provoking gags.

Diaz ("Green Hornet," "Knight and Day") snarls her way on cue through a limp script by writing partners Gene Stupnitsky and Lee Eisenberg ("Year One").  There's even the added curiosity of Justin Timberlake, Diaz's former significant other, co-starring as Russell, a substitute teacher she has her eye on.

That fizzles as well.  Timberlake, an excellent actor, really, gets lost behind a pair of plastic-rimmed glasses and a milquetoast character.  The aw shucks love interest is brought to the screen in an aw shucks, who cares? manner by Jason Segel, who fails to connect with Diaz or his character.

Only Lucy Punch (Darla in "Dinner for Schmucks") dives head first into her character, a nutty goody-two-shoes teacher named Amy Squirrel.

Director Jake Kasdan ("Walk Hard:  The Dewey Cox Story") makes a primal filmmaking mistake in this one.  Raunchy material is fine as long as it's in tandem with humor.  There are at least 10 misses to every joke that scores in this one.  

Diaz should know that.  She was hilarious sporting that, uh, special hair gel as the title character in "There's Something About Mary" in 1998.

One word stands out in "Bad Teacher." And it ain't "Teacher."

05/26/2011

Second 'Hangover' more like a leftover

OK, "The Hangover Part II" is "Bridesmaids" for men.

How's that for equality?

What the above statement means is that men may have gotten the jump on women (no pun intended; maybe a little) when it comes to bottom-feeder raunchy comedy.  But women, as displayed recently in "Bridesmaids," are just as capable as men when it comes to comic carnal knowledge on the Neanderthal level.

A contrived follow-up to the huge box office success of "The Hangover" in 2009, "Hangover Part II" takes its vocal rancor, blatant nudity and dumb guys buzzard luck not only to Thailand, but also to the very bottom of soft-porn shock raunch.

And this time director Todd Phillips ("Old School," "Road Trip"), who can be booked on charges of conspiring against decency by directing the first "Hangover," is packing a monkey.

Not just any monkey, either.  This capuchin monkey smokes cigarettes, peddles dope, snorts a little himself and engages in monkey-on-monk simulated sex.

Too tough for you?

Then you'll definitely want to move on down the hall of the multiplex to something a little more tame, like the third sequel of "Pirates of the Caribbean."A quick note, though.  There's a nasty, snarling monkey in that one, too.

The key cast members of the first "Hangover" all return.  That includes Bradley Cooper as Phil, the leader of the Wolfpack and Ed Helms ("The Office" on TV) as Stu, who lost a tooth the first time around and is the groom-to-be (seriously messed-up) this time.

Also, Zach Galifianakis returns as Alan, the self-proclaimed stay-at-home son, and Ken Jeong gets to get naked and screeches his lines again as Mr. Chow, an international man of crime.

Exceptional actor Paul Giamatti ("Sideways"), who appears to have forgotten to go on his pre-shooting diet and looks uncomfortably pudgy, joins the cast briefly as a businessman who just happens to be in the crime business.

In case you haven't already guessed, "Hangover Part II" travels the same path of lowest brow humor possible.  Just like the first, but then some.  Instead of misplacing the groom this time, a night of Bangkok debauchery leads to a morning where Stu's soon-to-be brother-in-law Teddy, a 16-year-old played by newcomer Mason Lee (director Ang Lee's son), is missing.

At least most of him is missing.  One of Teddy's severed body digits is discovered cooling in an ice bucket, which sets this less-effective misadventure in motion.

"The Hangover Part II," like its precursor, reveals all in a groan-inducing montage of gross-out photos during the final credits.

The good news is that no 3-D glasses are required for this one.  A barf bag might come in handy, though.

05/13/2011

Bride and prejudices

First, the good news about the raucous comedy "Bridesmaids."

I laughed.  I laughed a lot, and so hard that I shook a couple of times.

And the bad news?  As funny as it is, this "Hangover"-for-women is sloppy at times and overindulgent.   Still, "Saturday Night Live" standout Kristen Wiig is so good that I'm ready to dub her "the new Lucille Ball."

Director Paul Feig, however, apparently doesn't know how to trim a scene down to its golden comic core.  I'm guessing Feig, creator of TV's "Freaks and Geeks" who has been working in TV lately, probably eats bananas peel and all.

"Bridesmaids" is, however, very, very hilarious much of the time.  And it proves women can be just as raunchy as men when it comes to bottom-feeder dark comedy.

Wiig teams with two close friends.  The modern female genius of goofball comedy (Come on, did you see her in "Paul"?) co-wrote "Bridesmaids" with former Groundlings co-member Annie Mumolo.  In front of the camera, Wiig joins forces with Maya Rudolph, the former "Saturday Night Live" cast member.

Wiig takes on the role of downtrodden jewelry store clerk Annie, who might as well be called "second-hand Rose."  Her dream -- to own a bakery in Milwaukee -- fell victim to the lousy economy.

Annie sleeps with a jerk named Ted ("Mad Men's" Jon Hamm) she doesn't even like and -- when she's really down in the dumps -- gets in a shouting match with a teenage girl who wants "Best friends forever" engraved on a locket.

Much of "Bridesmaids" involves a series of set pieces, which generally work but may remind audience members of extended sitcom or "Saturday Night Live" sketches.

Wiig is so good, though, that it matters little.  What the writers and Feig do right is allow Annie to suffer through angst that many of us snacking in the dark can identify with.  She has money problems, for one thing, and drives an old clunker car that may or may not start.  

That would be funny enough by itself.  But when Annie's asked to be her best friend Lillian's (Rudolph) maid of honor, she must somehow attend high society way beyond her means -- an expensive dress, parties at the country club and such.

Anyone who's ever been forced to drop off a beat-up old car for valet parking in a line of Mercedes and other ritzy rides will appreciate Annie's dilemma.

"Bridesmaids" is boiling over with humor like that, and much of it scores.

It also helps that Wiig is surrounded by very solid support.  Rudolph is always terrific and she is here.  So is the late Jill Clayburgh in her final film role.  Clayburgh plays Annie's mom.

Rose Byrne ("Insidious") does some interesting things with Helen, the high society bridesmaid trying to horn in on the longtime friendship between Annie and Lillian.  And Melissa McCarthy, co-star of the TV sitcom "Mike & Molly," might just have you rolling in the aisles as Megan, a woman of size who has a heart of gold and a suggestion for the bridal shower theme:  "Fight Club."

"Bridesmaids" ultimately, though, is Wiig's show.  With a little editing help, it could have earned extrememly high marks as brilliant lowbrow.

Still, I love Lucy.  I mean Kristen.

03/18/2011

Finally, McConaughey returns to drama

It's good to see Matthew McConaughey acting again.

I mean really acting, as opposed to yanking his shirt off in semi-entertaining comic adventures that, like the shifting sand in "Sahara," have little foundation as solid memories.

In the dramatic-thriller "The Lincoln Lawyer," McConaughey doesn't exactly return to a serious courtroom drama on the level of "A Time to Kill," the crusading lawyer drama of 1996.

Even though he's dressed like an adult -- suit and tie; appropriate courtroom attire -- this time, a bit of the McConaughey swagger remains evident as Mick Haller.  A Beverly Hills ambulance chasing attorney, although that's only implied, Haller operates out of the back seat of his chauffeured Lincoln Continental sedan.

There's a throwaway line or two about when Haller got his license to drive back.  I suspect that aspect of the character is better explained in Michael Connelly's bestseller of the same title.

The adaptation by John Romano ("Nights in Rodanthe") is a little sloppy on details, preferring instead to showcase Haller's coolness in a courtroom, on the streets where a motorcycle gang (led by country crooner Trace Adkins, no less) is prone to pull him over for some lawyer-client chatting and, of course, with the ladies.

This would be a much better thriller if "The Lincoln Lawyer" more closely mimicked -- Sorry, I mean paid homage to -- "The Verdict" and "Fracture," both of which deserve a slice of the profits.

Haller is a hard drinking attorney.  He has has made mistakes in the past, but is honorable enough to fight to try to make things right.  That's just like Paul Newman did in "The Verdict" in 1982, although the case details vary.

The other strikingly similar element is the old attorney/client tete-a-tete.  In this one, a wealthy client played by Ryan Phillippe is up on an attempted murder charge.  As the plot thickens, an all-too-common game of cat and mouse shows signs of becoming deadly.  

If you saw "Fracture" in 2007, you know that Anthony Hopkins admitted to shooting his wife in the head, then dared the assistant district attorney to do something about it.

"The Lincoln Lawyer" works best as an entertainment ride.  Oscar-winner Marisa Tomei ("The Wrestler," "Cyrus") works well with McConaughey as Maggie, his ex-wife and crusading assistant D.A.  (Small world, this.)

By the time the final gavel falls, it's quite apparent that McConaughey, who only takes his shirt off once, is well aware of where he's at.  More important, though, is where he might be going.

The hard-working Texan who began his career Richard Linklater's "Dazed and Confused," then sort of got that way in mid-career, finally appears back on track.

"The Lincoln Lawyer" is flawed cinema at best.  But sometimes, on a purely entertainment level, the old "Lincoln" purrs across the screen.

'Paul' needs to phone home for more guffaws

Although comic actors Simon Pegg and Nick Frost might not admit it, before "Paul," their latest effort, they were Great Britain's version of Abbott and Costello, or Jerry Lewis and Dean Martin.

In comedies like "Shawn of the Dead," "Hot Fuzz" and "Run Fatboy Run," Pegg pegged the straight role (Abbott and Martin) while Frost goofed around as the funny, or at least funnier guy (Costello and Lewis).

To put it bluntly, there are two Abbotts and a definite need for a Costello in "Paul," a mildly funny alien/human road picture featuring the voice of funny guy Seth Rogen in the title roll and a scene-stealing featured role for "Saturday Night Live's" Kristen Wiig.

Wiig made me laugh the most as Ruth Buggs, a one-eyed religious zealot who breaks away from her Bible-thumping, shotgun-toting father to join the adventure.

Adventure doesn't necessarily mean a consistently comic one, however. This one, written by best pals and frequent collaborators Pegg and Frost and directed by Greg Mottola ("Adventureland," "Superbad"), is rather pedestrian.

That's despite a computer-generated extra-terrestrial (Rogen) on the run to hook up with his mother ship and get home. Of course, there are buffoons (government and from Hicksville) who get in the way.

I kept waiting for Pegg and Frost to make me laugh, as they have many times before. But the duo of Brit wits are resigned to being reactors in this one, relying on the CGI alien and Rogen's quips to do the comic heavy lifting. Unfortunately, that just never materializes.

"Paul," and thus screenwriters Pegg and Frost, borrow heavily from Steven Spielberg's "E.T." and "Close Encounters of the Third Kind." Somehow (movie studio nudging, perhaps?) they even get Spielberg to phone in during an embarrassing conversation with the alien.

The talents of Jason Bateman ("Up in the Air," "Juno"), Jane Lynch ("Glee" on TV) and "Saturday Night Live's" Bill Hader are pretty much wasted in secondary roles.

"Paul" isn't a total washout. There are spotty laughs to be found here and there.

When it comes to the sparse comedy, though, it's impossible to tell who's on first.

01/28/2011

Taking 'The Mechanic' out for another spin

Slick, explosive and packing a revved-up cinematic Hemi, the redesigned "Mechanic" is ready for the showroom wall.

But what's under the substance hood?  How does it stack up against the original?

Not too many people will probably even recall the 1972 original with Charles Bronson as the tough-as-nails hit man teaching a young, perhaps faster gun the assassination ropes.

Those who do will consider the elder version a clunker compared to the new fire-breather putting British tough chap Jason Statham in the killer-for-hire lead.

This time around, exciting actor Ben Foster ("The Messenger," "3:10 to Yuma") takes on Steve, a loose cannon protege.  Steve claims to want to learn from the master, but all he really has on his enraged mind is revenge.

Anyone looking for a bombastic action-thriller with more kills per screen inch than most blood-splattered video games will find the desired adrenalin rush.

Statham, the former British diver, came along at the right time to inherit action audiences from aging tough guys like Sylvester Stallone and Bruce Willis.  He has no problem shooting first and asking questions later, if anyone alive is still around to question.

British director Simon West whipped up action sequences well enough in "Con Air" and "Lara Croft:  Tomb Raider."  Mainstream Friday night popcorn munchers looking for cheap thrills will find plenty here.  Explosions and gunfire are guaranteed to rattle the walls enough to disturb the art film audience in the adjoining auditorium.

From this aisle seat, though, this "Mechanic" is mostly about Foster.  He may not be a bona fide movie star yet, but Foster's got something special.  And plenty of nerve.

How else can we explain actual acting in a blow-everything-up-real-good actioner like this?